| kIHRelNjIqiuKjNzRG |
| Oliver |
25/03/2022-00:42:02 |
x |
Punk not dead https://www.onfinitytechnologies.com/stmap_42qktlqx.html?tritace.cataflam.levitra.zyrtec bio h tin minoxidil spray anwendung Video-game violence is, like all onscreen violence, an act of play. But the medium has a unique capacity to inveigle, and even implicate, its audience through its interactivity. When we watch a violent scene in a film or read a description of violence in a novel, no matter how graphic it is, we are merely spectators. In video games, whose stories are usually written in the second person singular—“you,” rather than “he” or “she” or “I”—we are active, if virtual, participants. Often the game’s story remains in stasis until we press the button to step off the sidewalk, light the cigarette, drunkenly turn the key in the ignition, or pull a yielding trigger. It is one thing to watch Gus Van Sant’s 2003 “Elephant,” a fictional film based on the 1999 Columbine High School massacre; it is quite another to inhabit the pixellated shoes of that atrocity’s perpetrators, Eric Harris and Dylan Klebold, as one does in the video game Super Columbine Massacre RPG.
|